Ian Rankin Quotations

You need a great idea, but then you've got to carry it through. If you get it right, you're going to be a critical success. But not everyone who works hard gets it right, or has the success they deserve: there's an element of luck.

I've always written. At the age of six or seven, I would get sheets of A4 paper and fold them in half, cut the edges to make a little eight-page booklet, break it up into squares and put in little stick men with little speech bubbles, and I'd have a spy story, a space story and a football story.

At all times, think like a writer, and keep those antennae twitching - that way, you pick up new ideas.

I still think most writers are just kids who refuse to grow up. We're still playing imaginary games, with our imaginary friends.

I am, of course, a frustrated rock star - I'd much rather be a rock star than a writer. Or own a record shop. Still, it's not a bad life, is it? You just sit at a computer and make stuff up.

I don't think I have one particular favourite writer. I have many whose works I will always buy or reread - Muriel Spark, Anthony Powell, Robert Louis Stevenson, Ruth Rendell, James Ellroy, William McIlvanney, Kate Atkinson, John Burnside, Louise Welsh, Iain Banks.

I think writers have to be proactive: they've got to use new technology and social media. Yes, it's hard to get noticed by traditional publishers, but there's a great deal of opportunity out there if you've got the right story.

I'm interested in Scotland now and then, how it's changed. I want to get the reader to think about that by thinking about something from the past. How has society changed, how has policing changed, have we changed philosophically, psychologically, culturally, spiritually?

I don't have many friends. It's not because I'm a misanthrope. It's because I'm reserved. I'm self-contained. I get all my adventures in my head when I'm writing my books.

Right from the very beginning, I knew I wanted to write palpably Scottish fiction.

A lot of writers, especially crime writers, have an image that we think we're trying to keep up with. You've got to be seen as dark and slightly dangerous. But I'm not like that and I've realised that I don't need to put that on. People will buy the books whether they see a photo of you dressed in black or not.

I took the first James Kelman novel, 'The Bus Conductor Hines', home to my dad. I thought, 'My dad will like this; it's written in Scots.' But my dad said: 'I can't read that.' He was reading James Bond and John le Carre. That was part of what attracted me to crime - the idea of getting a wide audience.

I used to think that: whenever I heard that someone had taken 10 years to write a novel, I'd think it must be a big, serious book. Now I think, 'No - it took you one year to write, and nine years to sit around eating Kit Kats.

I wrote my first short story for a competition and won second prize. Another competition came up and I won first prize. The first story was published in a newspaper. The second went out on radio.

I'm often asked how I write books, but I don't think my approach is suitable for everyone. If I walked into a creative writing class, all I could say to them was 'I tend to make it up as I go along.' I'm not sure that's brilliant advice.

My first novel was turned down by half a dozen publishers. And even after having published five or six books, I wasn't making enough money to live on, and was beginning to think I'd have to give up the dream of being a full-time writer.

No matter how many awards you've won or how many sales you've got, come the next book it's still a blank sheet of paper and you're still panicking like hell that you've got nothing new to say.

The most difficult part of any crime novel is the plotting. It all begins simply enough, but soon you're dealing with a multitude of linked characters, strands, themes and red herrings - and you need to try to control these unruly elements and weave them into a pattern.

Whether Rebus's 'skills' are ones his bosses would wish retained is a moot point, but it seems I have my 'get-in' clause should I need one.

Music is a good shorthand way to delineate character. If you want to tell the reader a lot about a character in a small space, just tell them what their musical taste is. You'll get their age, their background, whether they're gregarious or a loner.

Music is a good shorthand way to delineate character,

I have him going into a pub and lighting up, and then being told by a barman that he has got only nine months to go before he has to stop.

He is a big fan of pulp fiction/American private-eye stories. He writes very tough, amoral tales of urban life with very few good cops, and usually it is the villains who are the heroes of his books. It is a very interesting take.

Jack Harvey wrote thrillers, which are very different beasts to crime novels: lavish, almost pornographic descriptions of weaponry; sex scenes; world travel. These things were closed to me in the kind of crime novels I was writing.

When a murder is satisfied, it isn't the beginning of the story; it's the middle. We shouldn't forget that fact because murder has ripples. You never go back to being the same. The people that investigate these crimes never go back to being the same as they were before they started the investigation. The people's whose lives have been affected, the victim's families, even the murderer themselves are profoundly changed. That's why murder is still the most interesting crime for us to write about, because it is the only crime where something unique is taken away from the world, something that can't be replaced.

It's a strange feeling to see one's books come up at auction and also, to some extent, a sign of my miserable early failings as an author.

It's a young man's book, all about the perils and pitfalls of growing up.

By that time, Rebus will be 59 and, for a CID officer, he is getting fairly long in the tooth. They will have brought in the smoking ban by 2007, so he will definitely want to retire to somewhere in the sun for a drink and a smoke.

I love short stories - reading and writing them. The best short stories distill all the potency of a novel into a small but heady draught. They are perfect reading material for the bus or train or for a lunchtime break. Everything extraneous has been strained off by the author. The best short stories pack the heft of any novel, yet resonate like poetry.

A good album should be more than the sum of its parts.

Witches never existed, except in people’s minds. All there was in the olden days was women and some men who believed in herbal cures and in folklore and in the wish to fly. Witches? We’re all witches in one way or another. Witches was the invention of mankind, son. We’re all witches beneath the skin.

I started writing novels while an undergraduate student, in an attempt to make sense of the city of Edinburgh, using a detective as my protagonist. Each book hopefully adds another piece to the jigsaw that is modern Scotland, asking questions about the nation's politics, economy, psyche and history ... and perhaps pointing towards its possible future.

War created bizarre allies, while peace itself could be divisive.

It was the laughter of birthdays, of money found in an old pocket.

It seemed to him a very Edinburgh thing. Welcoming, but not very.

From this height the sleeping city seems like a child's construction, a model which has refused to be constrained by imagination. The volcanic plug might be black Plasticine, the castle balanced solidly atop it a skewed rendition of crenellated building bricks. The orange street lamps are crumpled toffee-wrappers glued to lollipop sticks.

Was it all inevitable, John?" Reeve was pushing his fingers across the floor of the cell, seated on his haunches. I was lying on the mattress. Yes," I said. "I think it was. Certainly, it's written that way. The end of the book is there before the beginning's hardly started.

[About a tiresome colleague]: He could bore for Scotland.

You wouldn't think you could kill an ocean, would you? But we'll do it one day. That's how negligent we are.

His eyes beheld beauty not in reality but in the printed word. Standing in the waiting-room, he realized that in his life he had accepted secondary experience -- the experience of reading someone else's thoughts -- over real life.

Rebus was eating breakfast in the canteen and wishing there was more caffeine in the coffee, or more coffee in the coffee come to that.

The match hinged on the first try after the break,